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hánxù 含蓄 Subtle Suggestion 文艺作品的一种创作技巧与风格，用简约的语言和浅近的艺术形象委婉表达出丰富深远的情感意蕴，使欣赏者能从中获得回味无穷的美感。中国古代的文学艺术作品中既有直率真实的表现方式，亦有含蓄蕴藉的表达手法。含蓄这一术语源于诗歌的讽谏传统及道家思想，主张作品的情感、意蕴应当内敛，外在形象的描写要借助充实的内在意蕴而感染读者，形成言近旨远、意在言外的审美效果。唐代司空图将其列为二十四种诗歌风格之一。含蓄是作家修养、创作技巧与文学作品的风格和境界的高度统一。 A technique or style in creating literary works, it refers to the use of concise language in portraying a simple artistic image, whose rich feelings and implications are elicited in a subtle manner, so that readers can intuit multiple hidden meanings. One finds a straightforward and factual manner of expression […]

gōngzhèng 公正 Fair / Just 公平正义或公平正直。“公”与“厶（私）”相反，无偏私，不以个人为中心考虑问题；“正”与“曲”相反，有两层含义：其一，有以正义为基础的共同的准则；其二，能以此端正自己与他人的一切行为，不偏斜，不枉曲。“公正”主要体现为国家、社会有共同的道义和规范，所有人都能以此约束自己并对他人行为正确与否作出判断。在现代社会，公正主要体现在制度公正、法律公正、社会财富与公共资源分配公正及人心公正等方面，被认为是培育美好品德、构建美好社会的核心价值之一。 The expression means fair and just. Gong (公), the opposite of si (私 private), means impartial and not self-centered. Zheng (正), the opposite of qu (曲 crooked), has two meanings. One is shared norms based on justice, and the other is making oneself comply with these norms in one’s behavior and stay unbiased

gōngdiào 宫调 Gongdiao (Musical Modes) 中国传统乐学将调式与音高结合，划分、命名音乐类型并描述其特性的基本理论。以宫、商、角、变徵、徵、羽、变宫等七声或其中五声、六声音阶中任何一声为主音，与其他乐音按一定的音程关系（相隔若干音度）组织在一起，均可构成一种调式，其中以宫声为主的调式称“宫”，以其他各声为主者称“调”。七种调式与黄钟、大吕等十二律相配，理论上可配得十二宫七十二调，共为八十四宫调。但在实际音乐中并不全用，如唐宋燕乐只用七宫，每宫四调，共有二十八宫调；南宋词曲音乐用七宫十二调；元代北曲用六宫十一调，南曲用五宫四调；明清以来，最常用者不过五宫四调。有些乐论家对不同宫调所表达的感情特点和适用场合做了规定。宫调理论对于词曲、戏剧、音乐创作具有指导和规范作用，可以运用于古代乐谱翻译，是中国艺术研究的一个重要课题。 Classical Chinese music theory combined tone and pitch to classify and name different types of music, as well as to describe their characteristics. The seven notes are known as gong (宫 corresponding to 1 in the numbered musical notation), shang (商 corresponding to 2), jue (角 corresponding to 3), bianzhi (变徵 corresponding to 4),

gé 格 Examine / Study 对人、事、物的考量与推究。是儒家提出的获得正确认识、培养道德良知的途径，具有方法论的意义。“格”亦有规范、准则的意思。用于人物品评，则指人的道德水平和思想境界，即人格。用于文艺批评，主要有三重含义：其一，指诗文写作的基本要求和方法；其二，指作品的品位、品格与境界；其三，指作品的体制、组织结构，是内容特色和形式特征相统一而呈现出的整体格局，仍不离衡量作品水准这一核心意义。 This term means to study or examine things, people or any phenomenon. It is an approach developed by Confucian scholars to help people obtain accurate assessments of things around them and to cultivate morals and ethics, as a kind of methodology. Sometimes the term is used as a noun

fēimìng 非命 Rejection of Fatalism 反对人事由命运所决定的观念。“非命”是墨家的基本主张之一。墨子提出，人民的贫富、国家的治乱都取决于人自身的作为，而不是由命运所决定的。将人事托付于命运，是在推卸行为主体的责任，只会导致国乱民贫。只有依据“兼爱”等道德原则，通过自身的努力作为，才能获得实际的利益。 A belief that events are not predetermined and a denial of fate is a basic component of Mohist thought. Mozi proposed that poverty and turmoil are brought about by our own acts rather than predetermined by fate. Blaming human affairs on fate is nothing other than relieving actors of

fàn’ài 泛爱 Broad Love Extending to All 广泛地爱。在语义学层面，它与“博爱”相同；但在思想史层面，“博爱”通常指爱所有人，而“泛爱”则既指爱所有的人，也指爱一切事物，与孟子的“仁民爱物”、张载的“民胞物与”异曲同工。 On the semantic level, fan’ai (泛爱), like the term bo’ai (博爱), means a broad love that extends to all. However, in the history of Chinese thought, it has been used with a different connotation: while bo’ai generally suggests “love of all human beings,” fan’ai infers “love of all humans as well

fǎn zhě dào zhī dòng 反者道之动 The Only Motion Is Returning. “道”的运动就是向对立面的转化或复归。这一命题出自《老子·四十章》。老子认为，“道”是事物运动、变化的基本法则。这一法则的基本内涵即是“反”。“反”包含两种不同的含义：其一，指相反、反对，即事物在运动中会向其自身的对立面转化；其二，指返回、复归，即事物最终返回到原初的状态。这一命题反映了老子及道家对事物运动法则的深刻理解。 The motion of Dao is to transform into the opposite or return to the original state. This concept was proposed by Laozi. Laozi believed that Dao is the fundamental rule of motion and change of things. The essence of this rule is “return,”

fǎ 法 Law 法律和法律制度。在古代，“法”和“礼”都是对人行为的规范；“礼”即礼教，旨在扬善；“法”即刑罚，旨在惩恶。“法”字古代写作“灋”，字形本身即体现着法的根本精神：“廌”即解廌（xièzhì），是传说中一种类似山牛的神兽，能辨别曲直善恶，在审理案件时能用角把不法、不正之人顶倒，象征法律的正义和威严；“氵”即水，则表示法如水一样平，喻示法律的公平。古人认为，“法”虽由“君”制定和颁布，但是“君”和天下人都必须共同遵守，这实际体现了法律的正义性与平等性。大约在商朝时期中国就已经有了成文法。公元前536年，郑国执政子产将郑国的法律条文铸在象征诸侯权力的鼎上，史称“铸刑书”。这是中国历史上第一次向社会公布成文法，对推动国家法律的普及与执行有着重要意义。 This term fa (法) refers to both laws and the legal system. In ancient times, fa (law) and li (rites) were both used to regulate human behavior. The purpose of li was to encourage virtuous behavior; fa refers to punitive laws, the purpose of which was to punish evil action. The graph of the archaic form